Епифеноменалната светлина във византийската живопис
Epiphenomenal Light in Byzantine Painting

Summary/Abstract: Sacral light in Byzantine painting reveals the epiphenomenal nature of God It presents itself as a typical emanation of God - both accessible and inaccessible As an emanation of God, this epiphenomenal light blinds the physical eyes of the beholder called upon the rare occasion of witnessing it, only to open their inner, spiritual eyes. This is experienced by the Apostles Peter, John and James during the transfiguration of Jesus on Mount Tabor; it is also experienced by the future Apostle Paul on his way to Damascus. The Holy Spirit descends in the form of flames to light the initiated so that they become holy men or saints. Painting structured through epiphenomenal light reveals a space that bears the characteristics of God. The essence of sacral space is not revealed to a mere look, because each “icon”, each sacral image, can only become accessible through contemplation. Epiphenomenal light builds the space of the painting by dispelling the darkness and, respectively, the shadows. The space of a sacral painting does not need to be modelled through light and shade; it fits into a universal two-dimensional form. The nature of epiphenomenal light reveals two different ways to depict God. Because of God’s sensual inaccessibility, He is not depicted as a specific visual unit; instead, God is approachable through the painting space itself, built from light. The only opportunity to localize God is by means of depicting His second face, Jesus Christ. The emanation of God into light signifies that He is ever present in the structure of the painting’s space. Thus, no image ever leaves the realm of the Father. The two ways to present God through epiphenomenal light reveal two types of iconography. The first type is engaged with specific images and pays special attention to narration, whereas the second type relates to the structure of space itself.

• Details
• Contents